Modernism Sketchbook

Modernism Project Reasearch New Graphic Design

Form Follows Function

Georgia Jane ChipchaseUni No. U1267385

Module TFD 1064Design Practice

Project 2

Brief Breakdown

Requirements:

Body of visual research based on modernism and post-modernismEvidence of thumbnails, visuals and design layouts Experimentation with grid systems, layouts, type and image selectionEvidence of multiple solutions and design refinementMastheadBroadsheet coverInner pages

Submit a design proposal for a new publication, which is to be entitled ‘New Graphic Design’.

This final publication must include:

A3 Page size A master head A cover design Inner pages

Key information that must be included in this design: Title ‘ New Graphic Design’Subtitle ‘ Form follows Function’ Issue 1 - Spring issueDate - April 2013

Joast Schmidt Micheal Place Emil RuderWalter DexerFillo Tommaso Marinetti Kurt Schwittes

Movements Research

Artist and Designer Research

El Lisstzky Wim Crowel Lazsio Moholy Nagy Max BillJosef muller Brockman Jan Tschichold

Paul Renner David Carson Studio Dumbar Neville Broody Max MeidingerArmin Hofman

Form follows function Swiss Design BauhausConstructivism Utopianism Émigré

Function follows form DadaDe StijlCubism Futurism Ray Gun

Keen Interest Interested Not so Interested

Reasearch Breakdown

Modernism Post Modernism

“It is the pervading law of all things organic and inorganic, of all things

physical and metaphysical, of all things human and all things superhuman, of all

true manifestations of the head, of the heart, of the soul, that the life is

recognizable in its expression, that form ever follows function. This is the law.”

Form and Function

Function is a course of action, which dictates to any public officer in church or state; the activity appropriate to any business or profession. In the design world this would mean that if form were a studio building then its function would be a working area, which is designed to enhance the performance of its designers. Therefore the function is the outcome of a series of activities, which then lead to the functionality, and progress of the design studio within the building.

What does function mean?

“Form follows function is a principle that states that the shape ‘form’ that something takes should be chosen based on its intended purpose and function.”

What does form mean?

Form means the constituent elements of a work of art, which are independent of the meaning. These elements include colour, composition, medium and size of the work rather than the emotional or social significance.

The Features of form can be separated into two groups, primary features and secondary features. The primary fetures includes; colour, dimension, line, mass, scale, texture, shape, space and value. The secondary features include; harmony, proportion, balance, rhythm, similarity, variety, contrast, movement and unity. There is clear divide between the two sets of features because the primary feature are all physical properties whereas the secondary features and technical properties of form.

“Function needs form in order to accomplish its goal. Form without function is just a pretty piece of paper.”

Form in design

Function in design

For designers, function is the practical or ‘ getting down to business’ part of the design process. Function is the purpose of the piece and the informed choices made when producing the piece. However it is also the choice of a suitable audience for the outcome and the costing process for the production of the final project design.

As said by Jacci Howard Bear;

Form and Function in Design

In print design, form is both the overall look and feel of the pages as well as the shape and aesthetics of the individual components of the design. This means the texture of each page, the selected typefaces and the graphic design composition all add up to create the form of the print design. Form is also the format in which the design in produced in; for example, a poster, brochure, web page or a magazine.

The quote above helped me to really understand what form follows function meant in the context of graphic design and visual communication. The reason this statement spoke to me is because I can see the truth within her words. In my understanding a design outcome must incorporate both aspects to communicate clearly, concisely and visually to its target audience.

The Function of ‘New Graphic Design’

The Questions

Who is my target audence and what are there expectations?

My audence are deisgn enthusiasts and there expectations are high quality design and interesting reading mateial based on the up and coming trends, influences and happenings of the design industries.

Is the design suppoded to sell as a tangilbe product or just as an idea at the end of the process ?

The end design is a pitch idea for the new publication therefore it doesnt have to be a tangible product but bare in mind it must work in both formats to be a successful publication design.

What is the perpose of the deisgn, is it to inform, deaw awearness or to create a fresh rebrand?

The perpose of the design is to be informative, entertaining and visually affective.

How is the design going to be distributed at the end point.

For the design hand in the publication should be in digital format. However if printed, the design would be in print publication format .

What is the budget for the project and how much will it cost to produce each peiec of the design outcome?

The budget for this is nothing yet as it is an idea however if i choose to print my publication i have given myself a budget of £35 .

What vital infromation from the client that must be kept in mind when producing this design?

“ Simplicity is the ultimate sophistication” or

“ Design is getting a message across to a viewer in a creative, fun and intuitive way”

Swiss Design Style

Swiss design is also known as the ‘ international style”, this soon became a movement that spread worldwide from Germany to Russia. In the 1950’s the Swiss style was a huge influence on architecture, art and cultural happening of this period. This became the ‘Swiss Legacy’ of the design world.

Attention to detailsPrecision Craft skills Systems of education Technical training High print standards Clear refinement Enervative typography Composition skills Grid systems Geometric shapes White space Minimalistic Readability

The key feature of Swiss design

The use of these features within the design industries of the 1950’s lead to the development of the ‘Swiss’ or ‘international’ Style movement we still see today in 2013. The features are still used in our modern society, just the designers, happenings and contextual choices behind the designs is different.

Uniformity and Geometrics Grids systems and Structure

Features of Swiss Style Design

I found Mike Joyce’s designs really relevant as an example of how Swiss style design is very much still a part of the design world today. Especially in the print design industry as you can see form Mike Joyce’s publications at ‘ Swissed.com ‘. The way in which he uses colour and geometrics in the examples is beautiful in its simplicity. By using the Swiss style techniques his work engaging and speaks to its audience without being over worked or cluttered it creates a clear message. I have found his site and magazine layouts to be really inspiring and informational on how I to can simplify and create work that is beautifully designed to produce a sophisticated outcome for its viewer.

Font sizes and Readability

Its very common to spot the use of contrasting font sizes in the Swiss style because it was often a technique they used to create clarity within there work whilst still relaying there message creatively. White space within the Swiss style was very important, as it could never be underrated. The reason white space was so vital within this style of design is because it creates both visual impact and improves readability.

A grid system is a rigid framework that is supposed to help graphic designers in meaningful, logical and organization of information on the page. The core of these ideas were first presented in the book ‘ Grid systems in Graphic Design’ written by Josef Muller Brockman. The new format soon spread worldwide and designers everywhere were interested in how grid systems were changing and improving the layout compositions of the design industries. This made a massive impact on the design print industry

Swiss style works reveal a strong attention of graphic design elements and strong geometric shape. Graphic artists have experimented with abstract geometric patterns, uncommon colour combinations, text manipulation and striking abstract visuals. They used these features to clearly convey their purpose in a new and creative way. This is the way in which graphic artists explored the ideology of ‘less is more’ and ‘form follows function’.

The Bauhaus

The Bauhaus was founded at Weimar in 1919. The head of the Bauhaus was Walter Groupis; he was the man who came up with the idea that the Bauhaus could be a school of arts, which would combine beauty and simplicity, unity and mass production. In 1925 the Bauhaus moved to a more friendly atmosphere in Dessau, were Walter Groupis designed a special building to house the various departments of the design school. Some of the most famous work was created that first year in Dessau, for example, the Breuer steel and leather chair.

Mies Van der Roeh became the head of the Bauhaus in 1932; he brought around conservative changes to the school but continued the teaching principles, which were laid down from the beginning. He was a strong believer in the new style of design in which the Bauhaus stood for and stood by the main principle that ‘ Form follows function’.

The school moved to Berlin, Germany where they intended to take their ideas but sadly in 1933 the Nazi government closed the Bauhaus school down completely. The designers and teachers all scattered across the world still trying to inform the rest of the design industries of the Bauhaus teachings.

The Breuer steel and leather chair designed by Marcel Breuer in 1925.

“Let us desire, conceive and create the new building of the future together. It will combine architecture, sculpture and painting in a singe form and will one day rise towards the heavens from the hands of a million workers as the

crystalline symbol of a new coming faith.” Walter Groupis

‘On White II’ , designed in 1923 by Wassily Wassilyevich Kandinsky

The Principles of Teaching at the Bauhaus

The Bauhaus teaching plan was insistent on functional craftsmanship in all art and design fields. Ideally the school was based on the philosophical view that design did not merely reflect society but could actually help improve it. The Bauhaus and its design ideals in-volving architecture, furniture, weaving, photography and typography among many others spread worldwide. The world was intrigue and amazed by the creations developed at the school and the new design ideals. They took a world still in the design ornamentation stage and showed them simplicity, clarity and sophistication. The teachers at the Bauhaus are still world famous today and inspire the new designers and creative. For example Laszlo Moloy Nagy went on to teach at the Chicago art institute and Josef Muller Brockerman went on to teach designat Yale University.

Bauhaus Design

In 1923, the Bauhaus poster design style showed the world the intrigue and potential of Bauhaus type setting and design structure. Effective visual focus was a clear feature in Bauhaus graphic design and typography. There is clear evidence that suggests that Bauhaus designers were known for there used of vibrant colour, geometric shapes, harmony and universal style typefaces. In addition to the usu-al horizontal and vertical type orientation, the Bauhaus were known for the use of angled and wrapping text.

The formatting within Bauhaus design and typography is very much still a part of modern design because we still respect the clarity and beautiful simplicity of their design ideals. The Bauhaus style has now become timeless. An example of modern Bauhaus style design is President Obama’s resent campaign. It is said he choose this style for its sophistication, clarity and above all the way in which the Bauhaus typography gave is words a voice of their own.

Bauhaus art was a huge influence on the art world in the 1920’s. One of the most successful artists of this time period was Kandinsky, he was known for his use of geometric shapes to express his visual creativity to the world. He found more potenicial within the inner of sa circle than any other shape. He mastered the way in which Weimar inspired artists use of the three primary colours because of there interactive relationships.

Bauhaus Art

Bauhaus Typography

Constructivism

Constructivist worked on any area of design from graphic posters to cinema scenes and political campaigns to information graphics. There design style was a combination of bright colours, geometric shapes and uniformed typography. This style began with the Stenberg brothers, Vladimir and Georgii Stenberg and then designers such as Gustav Klutsis and Valentina Kulagina continued this distinctive style.

Constructivism was a movement, which primarily began in Russia, it was mainly part of the art and architectural movement to began with. Constructivism rejected the visual ideas of ‘art being art for arts sake’ and the way in which art had been set for the class systems it came before in society and focused on social and political changes that effected everyone. The constructivist study many areas of practice in order to visually connect with society and be up on the latest social issues.

Constructivism became a cause for suspicion in many parts of the USSR after the left opposition came to power in 1934. The counter doctrine of socialist realism was continued to produce Avant guard work in the service of the state. A good example of this was Lissitzky and Rochencko’s involvement in the designs for the magazine ‘USSR Under Construction.

Varvara Stepanova, C & C cover, 1928 Aleksander Rodchenko, Novyi Lef, 1928 El Lissitzky, Cover for Artists' Brigade, 1931

Constructivism

Constructivism was a movement, which primarily began in Russia, it was mainly part of the art and architectural movement to began with. Constructivism rejected the visual ideas of ‘art being art for arts sake’ and the way in which art had been set for the class systems it came before in society and focused on social and political changes that effected everyone. The constructivist study many areas of practice in order to visually connect with society and be up on the latest social issues. A key political influence on the artists and designers of the constructivism movement was Leon Trotsky. He was a marxist designer and was fascinated by uniformity, form and function; his work is still very much an influence on the design industry in today’s society.

Designer, Kasmir Malevich coined the constructivist art style in reference to the work of Alexander Rochencko. As other graphic designs began to be strongly influenced by constructivism, this spread through the world of design from logos and packaging to advertisement posters and book jackets. Alexander Rochencko had a distinctive graphic style, which became particularly famous with the western world of design and influenced some of the greats such as Jan Tschold. Constructivist design principles are stolen, borrowed an even recreated today because there formatting and style is timeless and classic the world of design.

Constructivist Design

“Construct ivism appeals to designers because its references are graphic, and graphic art appealed to the Constructivists because it was the means to mass

communication for all,”

Sophie Thomas of Thomas Matthews says;

Constructivism Designers

El Lissitzky was born in Russia in November 23, 1890. He became a huge influence in the development of constructivist design, photography, typography and graphic design. He helped develop the ideals of the supremacist movement, which went hand in hand with the constructivist view of how design should follow the ‘ form follows function’ ideals.

He moved around in the 1920’s and spent time in Germany as a cultural change for him in contrast to the cultural influences in Russia. After he was diagnosed with pulmonary tuberculosis at a hospital in Switzerland he decided to stay in Switzerland but never gave up his practice. He continued to create stunning propaganda posters, book covers, building designs and curating his own exhibition for events in the Russia.

In 1932, Stalin demanded that artists must only create artworks, which conformed to his strict ideals and rules. El Lissitzky never changed his ways and still created what he felt was relevant and important to his personal design ideals. By 1934 El Lissitzky was black listed from the design world by Stalin because he would not conform. Soon after this El Lissitzky died as the dreadful disease tuberculosis took him.

In his early years he developed a new style of painting in which he used abstract geometric shapes, which he referred to as prouns, to define the spatial dimensions of the design. These styles of artwork often contained numerous perspectives, which are a direct contrast to the ideas of supremacist theories. This created a stress on the simplicity of the shapes and the use of two-dimensional space only.

Suprematism

Black Circle (Malevich, 1915), State Russian Museum, St. Petersburg

Suprematism (Supremus No. 58), Krasnodar Museum of Art (Malevich, 1916)

Puni, Ivan (1894-1956), Tramway

Supremacist found its base in the application of the fundamental geometric shapes and forms particularly circles and squares. In originated in 1915 in Russia and was established by Kazimar Melvech. The movement also expressed an interest in concepts that related to non-evaluated geometry, which imagined form moving through space and time. A non-objective style of art and design but rather more influenced by the geometrics within form, this influenced the development of the movement among others such as the Bauhaus movement.

The style developed as Russia was in a revolutionary state and was an effort to do away with the old and create something new. It was primary developed in the field of painting although its practice extended to poetry and theater. It also revitalized an interest in traditional Russian folk art. The most identified work is Malevich’s White on White, which is composed of an offset white square set inside of another white square.

De Stijl

Piet Mondrian- Visual Rhythm (1872-1944) Dutch painter and art theorist, notably

Neo-Plasticism' and 'De Stijl'

De Stijl influenced not only the fine arts but went on to inspired artists and designers in many art industries such as typography, graphic design, architecture and pattern design.Even though De Stijl artists created work embodying the ideals of the utopian vision, the realization that is vision was unattainable in the real world, especially brought about the demise of the first group of De Stijl artists. Ultimately a lot of the reason De Stijl still claims to its first known fame is because of the world famous artist and designer Piet Mondain. He is seen as the master of the De Stijl modernist art style.

The De Stijl movement embraced the abstract, pared down aesthetics centered in basic visual elements such as geometric shapes, forms and primary colours. Its creators envisioned De Stijl as a universal visual language, which is appropriate to the modern era, a so-called ‘time of new, spiritualized world of order’. The movement led by painters, Theo Van Doesburg and Piet Mondain. De Stijl artists applied their style to a range of different mediums within the arts. Promoting their innovative ideas in journals kept by the initial members of the movement, they envisioned nothing less than the ideal fusion of form and function, thereby making De Stijl the so-called ‘ ultimate movement’.

As in many other Avant guard styles or movements at this time (1920’s, 1930’s), the De Stijl movement, simply means ‘ the style’ in Dutch, emerged largely in response to the horrors of the first world war and the wish to rebuild or restructure society in its aftermath, viewing art as a means of social and spiritual redemption. The members of the De Stijl movement embraced a utopian vision of art and its transformative potential on society.

The De Stijl artists created a new visual language consisting of precisely rendered lines, geometric shapes and primary colours. The artists wanted to express there individual search for’ the universal, as an individual was losing its significance’. This was a search to bring the government laws on harmony to the for front of their viewers minds.

Key Ideals of the De Stijl Movement

“If all our movements are already based upon horizontal and vertical, It is only an emphasis on our physical nature, of the nature, structure and functions of

organisms of our consciousness”. Theo Van Doesburg

De Stijl Designers

Rietveld’s Shroder House

“The focus exclusively on relationships by creating them and be searching for their equilibrium in art and in life, this is the great work of

our time, to prepare the future”.Piet Mondrain

The De Stijl movement is said, to be based upon the ideals of materialism and functionality, it was an artist movement foundered by Theo Van Doesburg and Piet Mondain whom were influenced by cubism and neo-plastism. The De Stijl movement proposed an abstract clarity of expressionism, through use of straight lines, pure planes, right angle, primary colour and decomposed cube.

These feature were very influence on the architecture between to two world wars and especially the Bauhaus and the international style movement. The most inspirational architectural design of the time period in my opinion is the Reitveld House because of its flat block roof, angular structure and primary colour detailing.

De Stijl architecture was a large part of the design movement and designers such as Rieveld and Oud built beautifully stylized buildings in Switzerland during the 1920’s. I found the way in which the designs were not only visual creativity by defied Theo Van Doesburg’s theory of elementation, instead they utilized the use of horizontal, vertical and diagonal lines within their designs.

Futurism F T Marinetti wrote the futurism manifesto in which he wrote;

“ We want to glorify war, the only way the world, militarism, patriotism the destructive gesture of the

anarchists, the beautiful ideas which kills and the contempt of a woman”

F T Marinetti

“We want to sing the love of danger, the habit of energy and rashness. The essential elements of our poetry and the courage, audacity and revolt.”

Futurism was not only a movement in the arts but also a social movement that developed in Italy in the early 1920’s. Futurists were well versed and practiced in most areas of the creative arts and they tried to influence or send futurist messages to many areas of society. Futurism was a particularly hated art movement because of its classical antiquity in some areas, as at this time everyone wanted the next new thing not the new interpretation of something they already had.

The futurist painters on the other hand had been very successful because the work was backed by strong influential manifesto and literature on futurism and their main ideals. The designers and painters of the futurism movement often broke up light colours with a range of dots or geometric forms; they named this process ‘divisionism’. Futurism developed further and became a huge influence in the formation of other art movements such as the Bauhaus and De Stijl but most importantly had a huge influence on the different styles within graphic design.

Cover of Blast, Wyndham Lewis and Friends, 1915

Emigre. Inc

After looking into what Émigré is about, I have decided to read Rick Poyner’s Review on the agency in the design observer. From this I learned why Émigré magazine has become one of the so called ‘ all time greats’ of the publishing industry and learned about how there compositions were cleverly composed to suit there context and message without losing there visually intriguing design style.

Émigré. Inc. is a design typography foundry publisher and distributor of graphic design related software and printed materials based in North Carolina. Émigré Magazine was foundered in 1984, this coincided with the birth of Macintosh. It was one of the first computer technology centered design agencies. Émigré holds exclusive licenses to over 300 original typeface designs created by a group of contemporary designers.

Émigré is also the publisher of the much-admired Émigré Design Journal, which was published between 1984 and 2005. The Magazine was well know for its modernist style and interesting use of typography. The typefaces are often taken from Emigre’s own designs which is another reason thatthey stand out from the other design journals produced at the start of this tilt in the graphic design movement.

“If your contribution has been vital there will always be somebody to pick up where you left off, and that will be your claim to immortality”

Walter Groupis

Ray Gun Magazine

David Carson

David Carson foundered Ray Gun Magazine in 1992. Ray Gun magazine is based around pop cul-ture, icons, music and new advances in technology. David Carson is the head designer for Ray Gun Magazine, he was said to be very modern as he used a digitalized layering design style, which was rare in the world of design in the 1980s.

The Content of Ray Gun Magazine is not graphic design related however it proved to be a platform in which typography, layout and visual story telling took place. This design style caused a massive shift in graphic design movements of the early 90s.

David Carson’s style of design and typographic experimentation influenced the new age designers based around his theory of deconstruction and technology. David Carson’s designs are often chaotic and abstract or instinctive even sometimes they seem on the brink of being illegible. Although his designs were highly advanced he didn’t gain high praise of recognition for his work until much later in his career at Ray Gun Magazine.

Cubism

Cubism tried to visually communicated the notion or visual ideas of the forth dimension. Cubism is a kind of realism as ‘Cubism aimed to show the world from what is not rather than what is seems to be’. Cubism can therefore be a form of realism in a conceptual way rather than a perspective way. Cubist wanted to create art beyond the rigid geometry of perspective. They were determined to produce the idea of ‘reality’ whilst really the artist is selecting elements from the subject, combining these observations to create a combined image.

Cezanne’s goal was never really to create an illusion of depth as he abandoned the tradition of perspective drawing because the illusion of perspective suggests painting is only in the two dimensional form, however the cubism movement believed that drawing could be in multiple surfaces or in the forth dimension. Cubists flattered the spaces within their painting and designs to create their version of forth dimension.

Cubism colours were often broad spectrums and the use of geometric shapes. The alternate shapes and forms the angular positioning and the distribution of design or painting elements is what adds up to cubist works.

Although the cubist ideals and visual research I have found are interesting theoretically and graphically, I have decided this is not the style or movement I want to base my masthead or broadsheet around.

Cubism began, as an idea a then became a style or movement. Cubism was based on Paul Cezanne’s three main ingredients.

Geometrics

Simultaneous

Passive

Utopianism

“An imagined place or state of things in which everything is perfect. Sir Thomas Moor first used the ideal of this kind of world in the book ‘Utopia’ Written in 1516. The opposite of dystopia”

The definition of Utopianism

A lot of utopianism is based on specific advances to form a perfect world and a perfect society even though the way the human race is flawed. Therefore the way in which I see this as relevant to the modern world of design is in the form of advertisement. The link is clear because an advertiser bases there living on selling an ideal by using all the social and technological advances at their disposal. This relates back to how utopianism of the Second World War era tried to create what they thought was a perfect world and society in the reality of the present during a time of destruction and ciaos.

Monument to the Third International by Vladimir Tatlin

Building by ???

Counter-Corner Relief designed by Vadimir Tatlin in 1915

The idea of the Utopianism League of Nations was crumbling as Hitler and the antiemetic motions, the holocaust, the atom bomb and the Second World War created a shattering effect that the First World War failed to do. These effects stamped out the dreams of the utopian ideals of a perfect world and a better society. Many of the so-called ‘utopian dreamers’ fled to New York City, where they huddled away into the shadows of yet another less than utopian institution. They soon opened a school in which they could again get their profound utopian message in what is now the New York institute of art and design. There work was to create ultimate, art, and abstract expressionism.

Post War Utopianism

After the end of the ‘war to end all wars’, a phrase probably coined by a utopian dreamer, the rational utopians faded into the background. Utopian groups such as the De Stijl movement became passé to the modern art world and society. Through the nascent of Utopianism, Dadaism bloomed and died of self-inflicted wounds. Surrealism continued to grow and develop from this point onwards.

Counter Attack By D. A. Least , South Africa

Modern Utopianism Art

Surrealism was irrational but self destructive like the dada movement had been before it. Artists such as Rene Magritte, max Ernest, Andre Masson, Pablo Picasso, climbed on board with the utopianism bandwagon. At this point artists believed learned that the world had learned its lessons and those they could finally look forward to a perfect world, society and improved human endeavors.

Dada art was foundered in 1916 by Tristan Tzar, a French artist and poet, he wanted to create an art movement protest against the effects of the first world war and to rebel against whatever movements were going on within society and politics at this time. Even though dada is now seen as an art form back when it began the Dadaists were creating what was seen as an anti art movement. Strangely this take on the dada movement began in Zurich, Switzerland, which was the neutral country throughout the war. Therefore this all began in a place were art, protest and anti war ideals were meaningless and pessimistic.

Dadaism was a cultural movement that was concentrated or focused on antiwar politics however Dadaism made its way into the art work through art theory and art manifestos, literature, poetry and graphic design. The arts and visual communication industry found the Dadaist as a new ‘happy calling’ in the ideals of new age design because they did something new. Dadaism is an art movement to which the point is to be nonsensical and whimsical or to just do art in your own way, whatever that may be. Abstraction and expressionism were the two main influences on the Dadaism art movement, closely followed by the cubism movement. The ironic thing about the dad movement and its loose and free ideals is the fact that most of the artists and designers that formed the movement were fiercely serious people.

The dada movement started in Switzerland and soon spread through Europe before then making its way to the United States of America during the war. One of the main reasons this happened is because America became a safe haven for many artists during the war as they were free to still follow there design ideals freely without restriction of a political or social issues.

What is Dadaism?

Dadaism

Dadaists attempted to change the way the styles of traditional art so they would become irrational and unorganized whilst still making a clear, strong and clear message to its very by creating an ‘anti art’ movement. The Dadaist produced a lot of publication and protest material for political upheaval and the anti war movement. The visual athletics associated with the dada art movement are often found objects or images, which are then collaged together to create artworks or designs. This style of college and use of found materials is still used in many art industries today and is often used as a visual voice outlet.

The main features of Dadaism art

Randomness

Creating something which is nonsensical

Using ready mad objects within the design

An original viewpoint on an art subject or context

Layering and collaged mediums

Irony or satirical humor, which makes a clear point or gives a message

In the last twenty years, contextual and formal Dadaists have influenced modern design through the styles in which they made there points or better yet cause upheaval with there statement designs. The designs today incorporate elements of this style through the choices of imagery, mediums, typography and graphic design layout. Good examples of this would be the way in which the punk music movement Reid influenced famous designers such as David Carson, which is now a huge influence of technological design in the design industries today.

How is Dadasim relevant in design today?

The main distinguishing features of the Dadaism style in artwork are:

Dadaism

Cover of Anna Blume, Dichtungen, 1919Der Dada, I. Direktion R. Hausmann, June 1919

Hannah Höch, Cultural Epoch, in Germany, 1919

Dadaism in modern art and designs

Dadaism art and design

A really famous piece of dada style graphic design is the ‘ Sex Pistols’ poster designs, especially the ‘god save the queen poster, although its not a modern design today its still plastered on bags, t-shirts and retro posers. This shows how the design is till very much relevant to the design world today and how timeless this style of statement design has become over the decades and still doesn’t look out of place.

Dada art and design still speaks to people today in a way of passing on a strong message to the viewers in a creative way. An interesting part of Dada art is the way in which a first glance the artwork is visually interesting and then at second you see all the more intricate images or the hidden messages in the artwork. The way in which Dada art is subjective and can be perceived in many different ways is also another inspiring ideal as I find the idea of layered concepts and hidden meanings really interesting within modern and older design concepts.

There are some very distinctive aspects in Dada art, which can help us as modern designers can recognize the Dada style in modern works of art and design. The use of randomness element in Dadaism is often used in design today for the way it creates a diverse range of moods and this is why a lot of Dada inspired artworks can seem abstract, unconventional or weird to there viewers. The originality of style and subject matter is a key factor to look out for to as the way in which they manipulate paper, ink and clippings from ephemera. This style was seen as new or visionary because it broke boundaries within art at the time however this style is still recycled and re-appropriated in modern design today. Overall Dada style artwork is still a big part of how we get across difficult, strong or meaningful messages to the world through our own creative outlets.

“I speak only of myself since I do not wish to convince, I have no right to drag others into my river, I oblige

no one to follow me and everybody practices his art in his own way."

Tristan Tzara "Dada Manifesto 1918”

Masthead Initial Designs

This design was based on the ideals of the Bauhaus, block colours, geometric shapes and a clear and concise typeface. I choose to use three different shapes because I wanted the magazine master head to reflect the broad and diverse nature of its editorial content and the magnitude of different aspects of what makes ‘new graphic design’. I chose this typeface because I believe it is modern yet classic and can work well on many different backgrounds. I separated the shapes to try creating some balance and special emphasis within the design.

I then tried experimenting further by overlapping the shapes to create a sense of motion from one to the next. Ending at the arrow point to show moving into something new, designed and directed. I noticed still that the shapes are fighting against one another I decided that this design doesn’t work because the colours are to contrasting and that the black was to striking. Therefore I have decided to move forward with a less complex version of this idea by stripping it back to the three main factors of shape, colour and context.

In this design I have experimented with the angles of the geometric shapes within the master head. I incorporated the cut out style of type to create a more interesting composition design. I stuck with a bright zesty orange, cool cyan blue and mid tone grey colour because I liked the freshness and the way they are trending colours right now for there eye catching qualities within graphic visual content. I am not sure if this really has the style or versatile enough for this kind of magazine master head.

In this design I choose to use the three first initials of each word of the magazines title because I think the title is rather long and could possibly be more effective if changed into an abrogated version. In this first design idea I was inspired by the reintroduction of architectural typeface and the visual effects of a three dimensional outcome. The idea was effective however I think the orange on a grey background isn’t fresh or modern enough to stand the versatility need for the magazines master head design.

In this experiment I removed the three dimensional aspect to see if a more simplistic outcome would be more effective over a varied range of backgrounds. In my graphic opinion I believe that this design is more diverse and does work when set on a solid coloured background. I choose this red because of its strong links to the modernist movement and because it grabs the attention of its viewer. However the space within this design is cramped and I think it may be to unbalanced.

Masth “The basic starting point

In this experiment I choose to look into the different kinds of backgrounds that the master head could be placed on in future issues, here by working on the longevity of the master head design. I think the white is a bit to bold for this background. A main reason why I think this master head wouldn’t be a successful because it isn’t very versatile which is crucial for a successful design magazine master head design as the front cover, style and context will change alongside the new trends of design industries.

Masthead Development

This first design is based on the ideal that simplicity is key in good design. I decided to create an outline shape of a square for the typography this would give my master head more special emphasis. The typeface is clear and bold to create a focal point on the magazine’s identity but is also modern and up with the modern design ideals. I choose to work with a basic black and white format first because it most commonly used within magazine master head. I believe this design is successful but it needs to be tested further in colour to see if it has real potential.

In this design outcome I tried again to incorporate the key primary colours from the inspiration of graphic design in the last 1930’s however sadly again for me this just is not 2013 design it looks to bold to uncontrolled in terms of the colour distribution. Therefore I think I am going to move forward with a different more block coloured idea and possibly a more modern colour scheme. I think that the three colours are over complicated, so I think that further experiments with one or two colour max would be a more successful design outcome.

In this design outcome I decided to move forward with a medium cyan blue in block colour which I fresh and bold yet classic to create a form of sophistication in the design.I choose a square background because I thought it would be a good start for a more complex arrangement of geometric shapes. I keep the typographic layout the same because in my own design opinion I think the type works well together specially. I have found that this design outcome is successful because its simplicity, elegance and has that clarity needed in a graphic visual.


In this design I wanted to play around with the spacing of the master head and introduce the letterforms as a part of the geometric shapes rather than as individual elements of the design. I choose to use the colour orange cause I feel it is modern, fresh and eye catching. I changed the size and angels of the triangles based on size and special arrangement. The letters work as cut outs but something is missing from the design. I will continue to experiment more with the spacing on or around the geometric shapes and possibly add a backing shape or

In this design I Incorporated the same orange and two other complimentary colours, I did this to try creating a more balanced and playful colour scheme for the master head design. I think with a little work this colour scheme could be successful for creating a sense of fusion between the older modernist colour ideals with the modern graphics of 2013. I think the main indicial are more effective within the geometric shapes as they have more clarity and are eye catching this way. I think the design could use work on the angles of the

In this design I choose to try adding a backing shape and cut out the geometric shapes rather than the three indicial of type within the design outcome. The orange in block colour worked well but I still think the design layout seems cramped. Although I have looked in to the different areas of design principles I don’t believe that this design is one that I will develop further because it just doesn’t have the wow factor that I am looking for within my master head designs.

NG

NG

NG


In this design I wanted to create a unity, balance and more interesting composition. I was looking to create a sense of depth in the master head design. This is why I choose to angle the triangles and space them further away. I think that the shapes work but I am not sure about the wither it possibly needs more shapes or maybe more work on the colour choices to see what more I can to give it that visual wow it needs. The initials being cut out in white do really effective so I am going to keep this factor in my further design in developments.

In this design I decided to add more triangle to create a centre point for the design. I don’t think this was very effective as it looks to busy and like a shattered glass or fans which is not really the recognition I want for my design ideals of “ new graphic design’ magazine. Therefore I think it needs to be simplified further or possible remove a few shapes or colours and see if that create a more interesting and less complex or overworked design composition for the master head design.

In this design I experimented further to see if removing some of the shape elements would help the overall composition of the design and help it to be less visually confusion however I am still unsure and I an not sure how else to create an edge on the routine style design idea. Although when stood alone it is simplistically effect, it just lacks the edge of 2013 ‘here I am branding’ style needed to launch a new magazine like ‘New Graphic Design’, especially with it being design based content.

N

GN

GN

G


This design idea was based around the ideals of composition is key; I wanted to create depth within the master head design. The black is striking for the master head and I think the design may look more effective on a colour backing and more white space. The reasoning behind these thoughts are based on the modernist ideas of how ‘ you can never have to much white space’.

This was an experiment with colour on the logo to see how it fared with a subtler colour scheme. I think the calmer colour tone is a bit boring on second thoughts and possibly it would be more effective on a brighter background. I think the typeface is definitely a good visual draw to the design and for this reason I am going to continue with this modern style font.

This design is a result of my other ideas as I took on board the ideas of a brighter block colour and a backing geometric shape. I think this is actually a lot more effective and has a lot more visual presence to the viewer. I think the design works much better in a white format because it has a more clear outcome and it much more classic yet modern in its simplicity.

N GD

N

GD

N GD


This design is based on the idea of arrows and direction and referce to ideals that design is very diverse and how inspiration and design can come from just about anywhere. Then working form these ideals i desiced that trangles would be the bet geometric shape to show direction within the design. The colour scheme works well together and is modern and fresh whoch is ideal for this kind of magizine materhead design.. The white cut out letters works well in white aand I prefered the stright alligned type.

In his design outcome I decided to experiment with the angle of the master head design to see if it would be more effective or give of a more successful graphic message. I don’t think that three main initials are as clear when on this angle as they lack the direction that experiment one has mastered however I could always try the type straight and the geometric shapes on an angle to see if this would work or not. The design is more effect in colour now I have seen it in a very basic form but I would like to try it on backing shape in further development.

This design outcome is an experiment to see what adding a backing shape to the design would look like on this outcome. I think its not much more if at all more successful than without because the shapes are fighting one another visually. The grey backing could have been a wrong choice to, as it doesn’t make the master head symbol stand out against the page. This makes my wonder if I don’t have a visual recognition for it in this outcome then why would the potential magazine viewers. Also the colour scheme is rather cluttered. I developed further remember simplicity is key.

Masthead Final Ideas

N

GD

These three designs are the final outcomes I am going to move into further development with because I believe they have the most potiencial as the ‘ New Graphic Design’ masterhead and have the most vercitle and modern syled design. However most of all they fit the three key modern design ideals I set out for when designing for my masterhead.

‘The three modern design ideals are; simplicity, sophistcation and vercitility.’

I choose this as one of my final ideas because I believe it has potential as the ‘new graphic design’ master head. The reason I believe in the design outcome is because it has good special awareness, versatility and a strong modern typeface design. This design works on coloured and more complex backgrounds. The typeface is the key factor in this because it has a strong visual effect whilst still being sophisticated and fresh.

This design I choose because I think the geometric shapes work well together in the design space. I found the way each element looks like separated like puzzle pieces of a much bigger picture really interesting. As it relicts the way in which design now is just piece in what design will be in the future. I took influence from the modernism values of simplicity and constructivist triangles to create a balance throughout the design piece now I am going to move on and develop the idea within more design element and want add colour to the piece to give it more visual edge.

I choose this design because it stuck in my mind as a brand idea its modernist meet edgy as there a slight amount of dis-functionality within the design but still has a simplistic and classic style. I choose the functionality design outcome cause I think in is more visually effective and has a better balance at a straight angle. Overall I think this has a great deal of potential as a possible master head design because it too is versatile and gives the reader a strong graphic symbol to recognise in relevance to the magazine.


In this design I decided I experimented further with colour and from this I have learnt that block colour is a better idea for this kind of master head design outcome. I still think the square tiles work well and that these designs work in a special sense of design composition. In the first design I still think this design needs something more because the design just lacks that initial wow factor that is key to a successful master head design.

This design development is based on colour now because I think the overall composition is successful and simplistic. I liked the use of a zesty fresh orange because it is eye-catching and relevant in the trends of modern graphic language. I prefer the white effect on this cause it create a clean and sleek graphic. However I am going to continue to develop this design ad work on trying different background and possibly a cut out effect for the typographic elements of this design outcome. Overall I think finally this design could have the versatility I need for a current and relevant design style.

I think these to more simplistic designs work much better however they don’t really stand out to me. I think the typeface works well and gives of the style that I want for the ‘ new graphic design’ master head. However thee colours are still not striking me as new and fresh but reminding older more conservative design or me. This in turn, made me realise that this outcome wouldn’t work for the master head cause 2013 is all about the unique, the different and the sophisticated.

‘Form is an extension of content.’- Anonymous

N

GD

N

GD

N

GD


In this design I have tried to work son spatial arrangement of the geometric shapes and modernist colour schemes. The typeface is current and works well within the spacing of the shapes and there outlines, I like the way in which I have decided to have different sizes of font relevant to the importance of the word it represents and the context of the magazine. I think now it is just a case of experimenting further with the backgrounds and other factors to see if I can make this visually more interesting without losing the modernist principles.e

I choose to make the master head smaller and enclose it inside a circle backing shape to see if this would give it more emphasis and presence from a graphic perspective. However I think either the backing colour or the shape its self could have had the opposite effect because the design outcome is less visually successful in this design. I don’t find this outcome create emphasis because it seems less important in the outcome like its an after effect to an overall design therefore I am going to try other ideas of development such as geometric pattern or other backing environments.

In this design outcome I worked on developing the geometric pattern idea that I took form the pervious experiments. I kept the other shapes and cut out outlines because I didn’t want to overcomplicate the design outcome. I choose to incorporate more triangles into the design as a framing technique for the basic master head. Overall I believe the design is visually much more successful because the backing pattern of shapes adds some edge to the design and pushes the master head to the front of the page. The aspect I would like to improve now is the composition of this outcome.

Masthead Final Idea One Development

I explored a range of different colours and spacing in these design developments. From this design exploration I realised that these tree colours are most certainly ideal for the graphic fresh and sophisticated presence. I want my colour scheme to give of to its viewers. I think the type could do with being slightly less close to one another and I believe that the this could give the composition the classic yet new style graphic language I was looking for in my master head design without being over complicated. I like the square design however I think for versatility purposes I am going to try the design in its simplest form and remove the square inner shape to see how the design fares in visually. I am very keen that this design out come will be successful because it hits my three design ideals and is relevant to modern graphic design and memorable to its prospective viewers. Overall I think this is the design I want for my final master head after a few more tweaks I believe it could be a great master head design outcome.

Masthead Final Design

I have chosen these designs as my finals because I believe they fit the briefs requirements but also they are modern, simple and graphically communicate to there target audience. I have refine and amended this idea throughout my development process and have come to the conclusion that the more simple, sophisticated and interesting design outcome is the bottom row of three designs and these are the tree designs I am going to take forward and use on my front cover for ‘New Graphic Design’ Magazine.

“Simplicity is not the goal. It is the by-product of a good idea

and modest expectations.Paul Rand

What do you mean Grid Systems?

Grid Systems

“In order that typographic integrity is maintained when text is resized by the user we must use ems for all our vertical measurements, including line-height, padding and margins.”

[ Richard Rutter ]

“The Golden Section, Golden Ratio, and the grandiose Divine Proportion are all names for the same thing; a ratio of 1.618. Nodding off? Not yet? Good! Bear with me. Here?s the maths: the Golden Ratio is the ratio between two segments so that the ratio between point ac/bc is 1.618.” You can also use Phiculator for your grids.

[ Mark Boulton ]

“Well designed grid systems can make your designs not only more beautiful and

legible, but more usable.”- Mark Boulton

The grid system in graphic design is a way of organizing content on a page, using any combination of margins, guides, rows and columns. It is commonly seen in newspaper and magazine layout with columns of text and images. One grid, or a collection of grids, may be used across an entire project to achieve a consistent look and feel.

Grid Systems Successful Grid system ideas from magazines

I found this grid system layout in wallpaper magazine really interesting because it isn’t an overcomplicated design and the pages are well visually balanced. I was particularly impressed by the way the designer at ‘Wallpaper’ had give both the text and the image enough space to be that they don’t override one another. This isn’t something I seen a lot of magazines do when incorporating such a large and distinguished image into there layout. Also the way in which they have incorporated a range of font sizes on the left page is interesting and draws emphasis and recognition to the artists work. I found this grid system layout in wallpaper magazine really interesting because it isn’t an overcomplicated design and the pages are well visually balanced. I was particularly impressed by the way the designer at ‘Wallpaper’ had give both the text and the image enough space to be that they don’t override one another. Also the way in which they have incorporated a range of font sizes on the left page is interesting and draws emphasis and recognition to the artists work.

I choose to include this grid system layout for quite the opposite reasons because of if its beautiful simplicity and elegance. The way in which the photograph enhances the contexts meaning and visual communication. I found the white text was very effective against the photographic background because it made the design stand out from the page without being abrupt or bold but more structured and sophisticated. I have come to respect the space on a page when working though modernist and minimalist ideals and this layout just sums up the perfection of clarity, functionality and simplicity within design. A also found the use of depth of field photography particularly effective within the design composition of this design.This isn’t something I seen a lot of magazines do when incorporating such a large and distinguished image into there layout.

Grid Systems Ideas Successful Grid system ideas from magazines

This magazine layout had a brilliant grid system it was simple enough to gave the subject real space to impact its viewers visually but has small informalities that emphasize the context message of chaos and anarchy. The colour scheme is also key in this design because it provokes emotion from the viewer. It is blood red the causes emotive attachment to the articles design and along sign darker greys and blacks it creates a more serious impression of the context. The illustrations are beautifully placed in this design layout and the way the designer has faded certain areas to give room for the typographic elements in the design is truly inspiring. The type is quiet well chosen however the main heading is a bit to cliché for my taste so this has made me more aware of what type I use and why? or if it had been used before and for which style of design work.

I choose this grid system design because I incorporated a diverse range of angles and images and a large body of text without visually looking overwork or cluttered. This was of great interest to me and I also found the way in which they have incorporated the artist into the design layout. There are a few areas which are unconventional which to me is inspiring because I do find the older modernist ideals fascinating however I also want to produce cutting edge design too. I hope to create a final design outcome which is a fusion of the two, like the society of 2013, I want my work to say something not shout and I want clarity not chaos in my work. The main ideas I have taken from this is to not restrict my design layouts to strains up and down formats but to try angles and to not be scared to incorporate a diverse range of imagery into my final design outcomes.

Grid Systems IdeasSuccessful Grid system ideas from magazines

I was really inspired by the way in which diagonal lines were incorporated into the grid system design layout. The way in which the square imagery works well with the diagonals was a shock to me at first but then I realized it was the power of parallel lines and the spacing that made this work visually not the lines. The design is rather busy but I this if you strip a few images away the design would to work very successfully within the grid system it is has been set. The photography again however is beautifully worked around the typographic elements of the layout design.

This design was interesting and quirky and that’s why I choose to incorporate it, I was inspired by the way in which the parallel angles didn’t confuse but enhanced the typographic information on this design outcome, The imaged are cleverly used to break up the text and create and architecture vibe within the design’s layout however I still cant understand why the right hand type is angled at such a steep degree as it makes it less clear. Steep angels are something I am going avoid, as I don’t want to damage the legibility, clarity or composition of my design outcomes.

Cover Initial Designs

Form

Follows

Function

Issue 1

Summer

May 2013

Form

Follows

Function

Issue 1

Summer

May 2013

This design outcome just simply wasn’t successful because it is overcomplicated and the shapes in the composition are battling one another rather than enhancing the masthead. The colour were a bit bright so from here I need to strip the image down and get right of all the design constraints so I can visually experiment further with the buildings idea

Finally simplified to the best aspect of the building designs in one however this page still feels unbalanced to the eye of the viewer so possibly I need to work on the unity of the page and whether it its diverse and modern enough to gel with the masthead design. Also work trough the issues in the transparencies on the building designs.

In this design I believe still isn’t greatly more successful but is an improvement because of the new composition and the way it frames the masthead nicely. The design is still to busy and need to be simplified more hourly than just composition; possibly remove some elements of the page layout. Also the typeface on the subheading could do with improvement.


In this cover design I developed the logo and the font further and I found a font that was much less fragile and had more body, which was better, suited to the type within my masthead. I also worked on the colours of the masthead fro the front cover to see if a brighter more vibrant masthead would enhance or overwork the cover design.

This cover design experiment was based around colour because I wanted to see how virile both my masthead design and pattern design could be, so I switch the orange in the pattern for and orange backing colour and made the lines white instead. I found this design was really striking and visually communicated effectively. I must say this is one of my favourite cover designs so far.

. This front cover is based on architectural geometric pattern; I designed whist taking influence from the Bauhaus and constructivist design. I choose to use the formal principle of line only for my design because I didn’t want to over complicate it, I wanted it to be seen, as I should be clean a directed


Issue 1Summer

May 2013

This design outcome was made up of only line and shape because I want to see what my design would look like strip back to its routes with just a touch of colour. The design out come in my opinion is still to over complicated and this put me off the idea of using this further in development cause it doesn’t fit the three design ideals of modernism I was trying to stay within.

I based this design outcome on using darker background to give more emphasis and class to the form of the geometric shapes. I decided I don’t like the uneven alignments within my design outcome so I may try putting the masthead and the Issue information all in one section of the golden ration in further development.

This front cover design was a transparency experiment. I was pleased with the results because it did through the geometric shape out so it seems like a three dimensional form which is much more interesting. However the transparency is still a little high so I could work on that in further development


When doing these front cover development experiments I was looking to see what colour masthead would work best on different styles of backgrounds and see which ones are the most visually eye catching. In my own personal opinion I believe that the grey background white and orange mastheads are the most successful covers. The first cover is my personal favourite but after gaining feedback from my peers and others the third design took a strong visual lead and the orange logo was a most eye-catching. The bottom issue information still needs work so that is my next problem to solve alongside the type face of the information, because the cover needs a more full bodied typeface to carry properly on such a dark background.


These three designs are based on simplistic sophistication, pure colour verse black and white. This is also a trial for the new minimalist logo masthead design idea. Although modernist were very keen on black and white I still think the second one has more ‘wow’ factor or visual communication because it draws attention to the design through the initial colour recognition when passing. However the black and white covers to have a sense of clarity, class and creative balance in there own minimalist way. From these experiments I have learnt I need


This design was just a trial to see which of the circular of the triangle masthead designs worked best. After looking at both we have decided that the circular design is the mostly eye-catching and effect masthead design for this front cover design and the type should stay spaced out and for added visual communication to the potential magazine views.

This design experiment was all based on trailing dark backing colours against the transparency’s and line contours of my illustrative building design. I had interesting feedback about this design some loved it but didn’t know why it caught there eye but others said it felt dark and sullenly which was not the vibe I wanted for a new design magazine.

In this design outcome I want to create depth and tree dimensional form within my building illustration, I think they are effective but there is just something making them over cluttered but something is also missing within the design composition. I think it could be the angle or size of the design element throwing out the design or it could be the centre positioning of the illustration.

Final Three Cover Design

I have chosen to move forward with these three front cover designs because all three of them are modern, creative and have potential as the next cover of ‘ New Graphic Design Magazine’. I have explained my reasons throughout my research as to why I believe in each of these three designs however when faced with all three I wasn’t sure which, So I asked myself, ‘Which design visually communicates the necessary information in the most creative and clear way. An at this point I new it was image one because I could stop looking for new areas in the geometric shapes and the trenchancy drew eyes inward as I had hoped it would originally. Overall I am very please with all three but I have chosen front cover one

Final Front Cover Design

New Graphic Design Issue — 001 Summer May 2013

I have chosen this design as my final front cover design because of the way the page flows and the images and text balance well as one. I think the three dimensional geometric shape is original, modern and unique which is ideal for the cover of this style of editorial work and the colour scheme works really well together. The page is visually filled without overcrowding the information which helps the legibility, functionality and clarity of the work which is always a bonus as it helps the viewers understand the context and content of the design work. Over all I am really happy with this design outcome and think it has the most potential.

Inner Pages Initial Designs

Contentsp001 - Yinka SHONIBARE - space manp003 - book review - Post modernismp005 - Throw and grow - nIkoniko

“The basic starting point of Graphic Design Criticism as a Spectator Sport is

“I could have done better.” And of course you could! But simply having the idea is not enough.

Crafting a beautiful solution is not enough. Doing a dramatic presentation is not enough. Convincing

all your peers is not enough. Even if you’ve done all that, you still have to go through the hard

work of selling it to the client.”- Michael Bierut







During this development of my contents page I realised it couldn’t be to over the top as you can see for the ideas to the left the simplicity works however the sizing’s of things spoils the overall composition of the design. I choose to stick with the traditional zesty orange, cyan and charcoal grey colour scheme because they are trending colours in graphic design and I visually think they work well together within the design outcomes.

The top experiment doesn’t work because the content page should be the page that stands out to the view but instead I made the inner page withe the circle and quote to large that they steel the focus away from the real message that need to be communicated on this double page spread. This could be worked out if I resized the elements on the page and switched the focus the right communication point for the design other the outcome could be more successful.


The concluding chapter of the book was more like an informational paragraph and I think this area of the book could have been clearer and well just more informational in the sense it could create a more concise conclusion.

The book conclusion could have explored more artistic slant on the postmodern context. The information I read in Thames and Hudson’s ‘Concise history of Graphic Design’ on postmodernism arts and the impact the arts had on the of society.The concluding area of this chapter was much easier to follow because it was informative but not overly analytical of theoretical but more straight to the facts on how the movement changed and worked.

I think this book was informational but not a style I found particularly easy to follow and so I would probably only opt to use this author’s works for theoretical research not just for informational or recreational reading in the future.

‘What is Post Modernism?’ by Charles Book Review

The point of view within the book was not based on a pro or a con argument but explores both sides of postmodernism and how critics analy�ed the highs and lows of the separate artistic movements and changes within postmodernism.

The research behind the book was theoretically backed up mostly by secondary source material however there is some primary research referenced within the context of the book. The primary source within the book tends to be based on the architectural side of postmodernism.

This gave me the impression that Charles �enkins the author was particularly interested in architecture� economics and practicality in some areas of postmodernism.

“If information world has had one obvious effect on culture it is to have put all content in question. The postmodern world is the age of quotation marks, the ‘so- called’ this and ‘ Neo’ that, the self-conscious fabrication, the transformation of the past and the recent present, caused by the fact that almost all cultures are

now within possible instant communication within each other.” Charles Jenks

The Misfits, Bullet, Plan 9, 1978American Hardcore 1978-1990

runs from 11 April - 4 May at The Vinyl Factory, Chelsea, 91

Walton Street, London, SW3

by georgia jane chipchaseClassic Post - modernist Graphics








“If information world has had one obvious effect on culture it is to have put all content in question. The postmodern world is the age of quotation marks, the ‘so- called’ this and ‘ Neo’ that, the self-conscious fabrication, the transformation of the past and the recent present, caused by the fact that almost all cultures are now within possible instant communication within each other.”

Charles Jenks




by georgia jane chipchase

Classic Post - modernist Graphics

Yinka ShonibareThe Banksy of sculpture on his split personality By Claire Allfree

Stephen Friedman Gallery, LondonSpace Walk shows astronauts in African dress

PIcture: Yinka Shonibare/Stephen Friedman Gallery

While Yinka Shonibare’s Nelson’s Ship In A Bottle was perched on the fourth plinth at Trafalgar Square, looking for all the world as though it had just been disgorged by the Thames, cabbies, shopkeepers, anyone, would stop him in the street

‘The most common question was: “How did the ship get there?”’ says Shonibare with a twinkle, for the secret of how his HMS Victory rose intact inside a giant, cork-stopped bottle is as closely guarded as the Coca-Cola recipe.

Fabric-ation is at Yorkshire Sculpture Park from Sat to Sep 1. www.ysp.co.uk

ʻThe reach of public art is enormous,ʼ he says.

ʻPeople are not shy about coming forward.

Unlike in galleries.ʼAfrican or English? Establishment or rebel?

Just who is Yinka Shonibare? We meet the man who put

Nelson’s Ship In A Bottle in Trafalgar Square

ʻ� admire tradition but � also hate it,ʼ he says. ʻ� want to sub�ert the establishment but �ʼm also dying

to be part of it. �ts̓ a constant tension.ʼ�n his �ast �nd studio, �honibare is leafing through images of the creati�e e�pressionsof that tension,

many of which will be on display at ��P.

Shonibare’s work feels ready-made for the great outdoors � for street corners, public squares and city parks.His pieces, which often turn colonial history on its head �the sails of HMS Victory were cast from �utch cotton with an African print� are in�ariably cheeky, theatrical, pro�ocati�e � and to the point. He’s a bit like the Banksy of sculpture, using strong �isual motifs, wry political comment and a sub�ersi�e sense of humour: one of his early pieces, Space Walk, depicts two astronauts ho�ering abo�e a space capsule.

By Claire Allfree








Unlike in galleries.ʼAfrican or English? Establishment or rebel?



ʻ� admire tradition but � also hate it,ʼ he says.

ʻ� want to sub�ert the establishment but �ʼm also dying to be part of it. �ts̓ a

constant tension.ʼ�n his �ast �nd studio,

�honibare is leafing through images of the creati�e

e�pressionsof that tension, many of which will be on

display at ��P.


Although these designs have some good elements of design composition each one is lacking that space awareness which I must harness in order to create successful modernist inspired graphic outcome. However on the other hand I do believe the colour palettes are working well alongside the selected imagery. I choose my imagery in relation to the context topic because I want the articles to appeal to the reader not only visually but mentally and this is why block text can be a problem, so I have tried to incorporate shorter paragraphs and imaged to keep the viewers not only visually but mentally stimulated by the design outcome and information.


what going on this summer? Whats new - Galleries

Publication100 Years of Swiss Graphic Design, Museum für

Gestaltung Zürich (ed.), E, appears 2013

Venue: Museum für Gestaltung Zürich

Dates: February 10 – June 03 2012

Website: http: //www.museum-gestaltung.ch/en/exhibitions/exhibitions-2012/100-y

ears-of-swiss-graphic-design/

Open: Tuesday–Sunday 10.00 to 17.00, Wednesday to 20.00

100 YEARS OF SWISS GRAPHIC DESIGN

The challenge Spend ten minutes answering the following uestions hat are m three strengths as a designer M wea nesses hat s m fa orite color hat designers do lo e hat design wor do en o hat ind of wor do want to do in the future hen design a logo for ourself that is clearl informed b our off the cuff responses. e sure to stic to the time limit pro ided. ust gi e it our best shot, don t cheat one the time limit and Good uc to e er one

Da id Sherwin

Photographic Excellence

Photographer Y G E Ma eup E G E S air E DE MESt list D S S Model E E M SE GE YSt list s ssistant GE Y

Designer to veiw

Stuart McQuarrieArtl Studios

J Glasgow, United Kingdomwww.artlstudios.co.uk

"Designing for yourself is worse than representing a client; it can be like having an identity crisis."

—AIGA’s Graphic Design



Dates: February 10 – June 03 2012

Website: http: //www.museum-gestaltung.ch/en/exhibitions/exhibitions-2012/100-y

ears-of-swiss-graphic-design/



The challenge

Spend ten minutes answering the following questions: “What are my three strengths as a designer? My weaknesses? What’s my favorite color? What designers do I love? What design work do I enjoy? What kind of work do I want to do in the future?” Then design a logo for yourself that is clearly informed by your off-the-cuff responses. Be sure to stick to the time limit provided. Just give it your best shot, don’t cheat one the time limit and Good Luck to everyone

By David Sherwin


Photographer - YULIA GORBACHENKOMakeup - VALENTINA GRETSOVAHair - ALEXANDER TOMEStylist - DAVIS CARRASQUILLOModel - HEATHER AT MUSE AGENCYStylist’s Assistant - ANGEL YU

Designer to veiw Stuart McQuarrie

Artl StudiosJ Glasgow, United Kingdom

www.artlstudios.co.uk

"Designing for yourself is worse than representing a client; it can be like

having an identity crisis."—AIGA’s Graphic Design

This design outcome went terribly wrong in the end because I lost sight of the key principle, form, line, shape and composition. The reason I choose to include this design is because I now have learned were my mistakes were and why so next time I loose the reins when designing I can look back and see its just a case of re focusing my mind to the core values and principles of design once again. This was a great lesson learnt

During these design layout experiments I learned how to use lots of areas of design on the same page spread, it was a challenge to juggle all the different design elements without the page feeling cluttered but in the end I found a way to balance out he space on the page and utilise different fonts and type sizes in order to create a successful and content heavy design layout for my third double page spread

Inner Pages Final Designs







I choose to move forward with this content page design because I fell into the clarity and modern nature of the space. I particularly liked this design because its modernist and would fit in the design world today, to me this was the start of visually grasping the meaning of; ‘there never too much white space’ because I always thought the work might look lost but the more I experimented and strip away the visuals the more I began to be drawn to the design. It successful because of it functionality and beauty and truly follows the ideal form follows function.

Inner Pages Final Designs

Yinka ShonibareThe Banksy of sculpture on his split personality

By Claire Allfree








Unlike in galleries.ʼ

African or English? Establishment or rebel?







In these design development I learnt to work more with my content an how to incorporate speech in new ad visually interesting ways, The most important thing I learnt on this particular is the use of space and line in this design and how alignment make all the difference in editorial work and visual communication because it enhances the visual and in turn produces a more sleek and defined final design outcome.

Inner Pages Final Design









Charles Jenks






Inner Pages Final Design





Dates: February 10 – June 03 2012 Website: http: //www.museum-gestaltung.ch/en/exhibitions/exhibitions-2012/100-years-of-swiss-graphic-design/




Da id Sherwin


Photographer Y G E

Ma eup E G E S air E DE M E

St list D S S Model E E M SE GE Y

St list s ssistant GE Y

Designer to veiw Stuart McQuarrieArtl Studios




Back Cover Initial Designs

This design although consistent is far to bland and boring for my modernist back cover design however I wanted to try the simplest way first to see whether it would be effective or not. As I stated earlier this design doesn’t have that ‘wow’ factor that I am after for my designs.

I found this design experiment really interesting to because I like the idea of a balanced contrast between dark and light tones throughout the cover. The outlined shape colours stand out really well on the white background which is an added effect/ However my only worry is that the design is slightly to buys and overcomplicated therefore I may look in using more simplified ideas on the white backing area.

Back Cover Design Development

This design is still consistent to the grey of the front cover page but is much more interesting now that I have added the basic outlines of the three dimensional shape repetitively over the dull background. Overall I think This visually communicates well and is a beautiful design outcome.

Even now once the cover is placed together I still think this solution has gone t simplistic and has become rather boring in some senses and that its would lose its ‘wow’ factor from the front if I continued with this design outcome. Therefore this is as far as this particular idea is going to go.

Back Cover Design Development

These two cover designs are the most successful out of my development process, from here I am going critic them both and decide which cover design I am going to take forward into my final designs for the ‘ New Graphic Design’ Magazine. I like the unity between the first cover as it visually has a lot of consistency even though it has a busy backing page. This option is though still quite overcomplicated and this could cause a few class with the modernist design route I have chosen preferably for my inner page magazine designs. However the simplicity of the right hand side cover design is particularly interesting because I have good balance, clear white space and interesting yet simplistic consistency from the front cover. I believe that cover two is the best choice for my magazine designs because it is more versatile and covers more of the key factors needed to create a successful magazine cover design outcome.

Back Cover Final Design

The reason I believe that this is the most successful cover design is because it ticks all the ideals, simplicity, sophistication and modern. It is also visually interesting and catching to the viewer and has good balance and unity within it composition. Overall this is the best graphic design outcome for this brief.

New Graphic Design Final Designs

New Graphic Design Issue — 001 Summer May 2013

Yinka ShonibareThe Banksy of sculpture on his split personality

By Claire Allfree








Unlike in galleries.ʼ

African or English? Establishment or rebel?















Charles Jenks














Charles Jenks














Da id Sherwin


Photographer Y G E

Ma eup E G E S air E DE M E

St list D S S Model E E M SE GE Y

St list s ssistant GE Y






Swiss graphic design – one of the country’s leading products – is encountered everywhere. While a single

certain common approach is evident. This is revealed in the striking

precision and reduction to essentials. Graphic design from Switzerland

local qualities; irony and wit are its constant companions.The view of one hundred years of graphic design shows both the diversity of current visual

Publication




of tradition that connect works from different epochs. Alongside the poster

show also includes outstanding examples from advertising and

as well as selected striking advertising

objects come from the museum’s own collection.


The challenge Spend ten minutes answering the following questions: “What are my three

weaknesses? What’s my favorite color? What designers do I love? What design work do I enjoy? What kind of work do I want to do in the future?” Then design a logo for yourself that is clearly informed by your off-the-cuff responses. Be sure to stick to the time limit provided. Just

the time limit and Good Luck to everyone

By David Sherwin


Photographer - YULIA





People think that design is styling. Design is not style. It’s not about giving shape to the shell and not giving a damn

about the guts. Good design is a renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn’t know it was

missing.Paola Antonelli

Modernism Project - New Graphic Design By Georgia Jane Chipchase

Year 124/04/13

Modernism Sketchbook

Documents

Transcript of Modernism Sketchbook